The team making “Our Flag Means Death” were in a situation not unlike that of their protagonist, Stede Bonnet (Rhys Darby). At the beginning of the HBO Max series, Caribbean planter Stede has a mid-life crisis and pours his money into a ship called The Revenge, which is snazzy enough (and complete with a library begging to get trashed by a tropical storm), but by no means is it a match for the British Navy’s big ships of the line. Likewise, the workplace comedy and slow-burn romance Stede is at the center of has an incredibly ambitious setting, the ocean, which it needs to make work without necessarily the money to build an actual seafaring vessel “Master And Commander” style. IndieWire spoke to Visual Effects Supervisor David Van Dyke and cinematographers Mike Berlucci and Cynthia Pusheck about how they were able to blend technologies and techniques to get The Revenge out to sea.
- 5/23/2022
- by Sarah Shachat
- Indiewire
The board of governors of the American Society of Cinematographers has re-elected Kees van Oostrum as president to serve his third consecutive one-year term.
The Amsterdam native was elected two years ago to a one-year term, succeeding Richard Crudo. The organization, now in its 99th year, has 370-plus active members and 200 associate members from ancillary segments of the industry. Membership is by invitation only.
The Asc made the announcement Tuesday. Its board also named its roster of officers for 2018-2019, including Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
“During this past year at the Asc, we have been steadfastly focused on educational events, international outreach, and efforts to promote diversity and inclusion,” said van Oostrum. “These all support our mission of loyalty, progress and artistry. As we look ahead, we plan to usher in...
The Amsterdam native was elected two years ago to a one-year term, succeeding Richard Crudo. The organization, now in its 99th year, has 370-plus active members and 200 associate members from ancillary segments of the industry. Membership is by invitation only.
The Asc made the announcement Tuesday. Its board also named its roster of officers for 2018-2019, including Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
“During this past year at the Asc, we have been steadfastly focused on educational events, international outreach, and efforts to promote diversity and inclusion,” said van Oostrum. “These all support our mission of loyalty, progress and artistry. As we look ahead, we plan to usher in...
- 6/12/2018
- by Dave McNary
- Variety Film + TV
Kees Van Oostrum has been re-elected to his third consecutive one-year term as president of the American Society of Cinematographers.
Also during Monday night's Asc board meeting, the society re-elected Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
It will be a busy year for the Asc, as the society will celebrate its centennial in 2019. "We plan to usher in the 100th anniversary of the Asc in a way that commemorates our heritage and positions our members to maintain a leadership role ...
Also during Monday night's Asc board meeting, the society re-elected Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
It will be a busy year for the Asc, as the society will celebrate its centennial in 2019. "We plan to usher in the 100th anniversary of the Asc in a way that commemorates our heritage and positions our members to maintain a leadership role ...
- 6/12/2018
- The Hollywood Reporter - Film + TV
Kees Van Oostrum has been re-elected to his third consecutive one-year term as president of the American Society of Cinematographers.
Also during Monday night's Asc board meeting, the society re-elected Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
It will be a busy year for the Asc, as the society will celebrate its centennial in 2019. "We plan to usher in the 100th anniversary of the Asc in a way that commemorates our heritage and positions our members to maintain a leadership role ...
Also during Monday night's Asc board meeting, the society re-elected Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
It will be a busy year for the Asc, as the society will celebrate its centennial in 2019. "We plan to usher in the 100th anniversary of the Asc in a way that commemorates our heritage and positions our members to maintain a leadership role ...
- 6/12/2018
- The Hollywood Reporter - Movie News
The American Society of Cinematographers is launching "Changing the Face of the Industry" with a daylong event on April 21, designed to advocate for inclusion and diversity in production.
"By bringing filmmakers together, we hope to create a network that expands opportunities, raise awareness of the exceptional talent for hire and give underrepresented crewmembers the opportunity to meet cinematographers who may one day recruit them," said Cynthia Pusheck, who with John Simmons co-chairs the event.
Simmons added, "We're hopeful this event encourages camera department heads to continually evolve their mindset and practices for inclusivity."
A 2017 study found that women...
"By bringing filmmakers together, we hope to create a network that expands opportunities, raise awareness of the exceptional talent for hire and give underrepresented crewmembers the opportunity to meet cinematographers who may one day recruit them," said Cynthia Pusheck, who with John Simmons co-chairs the event.
Simmons added, "We're hopeful this event encourages camera department heads to continually evolve their mindset and practices for inclusivity."
A 2017 study found that women...
- 4/5/2018
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Cinematographers guild board also votes in officers for 2017-18 term.
The American Society of Cinematographers (Asc) has re-elected Kees van Oostrum for a second term as president.
The Asc board met on Monday night and also voted in the officers for the 2017-18 term.
They are: Bill Bennett, John Simmons and Cynthia Pusheck as vice-presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
“As an organisation, we are focused on education, international outreach, diversity and preservation of our heritage,” van Oostrum said. “Over the past year, we expanded our Master Class programme internationally to Toronto and China. We launched a Chinese version of American Cinematographer magazine. We are preparing for a third International Cinematography Summit, which sees attendees from several other societies around the world.
“And our Vision Committee has many initiatives planned after presenting two very successful ‘Day of Inspiration’ events in Los Angeles and New York, which were designed...
The American Society of Cinematographers (Asc) has re-elected Kees van Oostrum for a second term as president.
The Asc board met on Monday night and also voted in the officers for the 2017-18 term.
They are: Bill Bennett, John Simmons and Cynthia Pusheck as vice-presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
“As an organisation, we are focused on education, international outreach, diversity and preservation of our heritage,” van Oostrum said. “Over the past year, we expanded our Master Class programme internationally to Toronto and China. We launched a Chinese version of American Cinematographer magazine. We are preparing for a third International Cinematography Summit, which sees attendees from several other societies around the world.
“And our Vision Committee has many initiatives planned after presenting two very successful ‘Day of Inspiration’ events in Los Angeles and New York, which were designed...
- 6/6/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Kees Van Oostrum has been re-elected to his second consecutive one-year term as president of the American Society of Cinematographers.
Also during Monday night's Asc board meeting, the society elected or re-elected Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
“As an organization, we are focused on education, international outreach, diversity and preservation of our heritage,” said Van Oostrum. “We are preparing for a third International Cinematography Summit, which sees attendees from several other societies around the world. And our Vision...
Also during Monday night's Asc board meeting, the society elected or re-elected Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms.
“As an organization, we are focused on education, international outreach, diversity and preservation of our heritage,” said Van Oostrum. “We are preparing for a third International Cinematography Summit, which sees attendees from several other societies around the world. And our Vision...
- 6/6/2017
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
By Bob Fisher
hollywoodnews.com: Cynthia Pusheck will receive the 2010 Kodak Vision Award at the Women in Film Crystal + Lucy Awards at the Hyatt Regency Century Plaza Hotel in Los Angeles on June 1.
The award is presented annually to a rising star in the galaxy of cinematographers. Pusheck is an native of Chicago, where she studied filmmaking at Columbia College and worked at a camera rental house. She moved to Los Angeles and began her career working on camera crews as an assistant and operator. Pusheck subsequently became a go-to crew member for underwater scenes in films ranging from Tomorrow Never Dies to Free Willie. She continued her education at AFI, where she focused on cinematography in 1995 and 1996. Pusheck was a recipient of the International Cinematographers Guild Showcase Award in 1999 and 2002 for her short films One Hand, Left and Ezekiel.
That annual event is designed to provide a showcase for the next generation of cinematographers.
hollywoodnews.com: Cynthia Pusheck will receive the 2010 Kodak Vision Award at the Women in Film Crystal + Lucy Awards at the Hyatt Regency Century Plaza Hotel in Los Angeles on June 1.
The award is presented annually to a rising star in the galaxy of cinematographers. Pusheck is an native of Chicago, where she studied filmmaking at Columbia College and worked at a camera rental house. She moved to Los Angeles and began her career working on camera crews as an assistant and operator. Pusheck subsequently became a go-to crew member for underwater scenes in films ranging from Tomorrow Never Dies to Free Willie. She continued her education at AFI, where she focused on cinematography in 1995 and 1996. Pusheck was a recipient of the International Cinematographers Guild Showcase Award in 1999 and 2002 for her short films One Hand, Left and Ezekiel.
That annual event is designed to provide a showcase for the next generation of cinematographers.
- 5/30/2010
- by Bob Fisher
- Hollywoodnews.com
The Crystal + Lucy Awards will honour four women in film at this year's event. Actresses Courteney Cox and Zoe Saldana, Universal co-chairwoman Donna Langley and director of photography Cynthia Pusheck will be the honourees at the annual ceremony in June, says The Hollywood Reporter. "At the dawn of a new decade, it is heartening to acknowledge careers marked by independent vision, daring creative choices and unique talent," said Wif La president Jane Fleming. Friends and Cougar Town star Cox will be presented with (more)...
- 4/5/2010
- by By Hugh Armitage
- Digital Spy
The spotlight will shine on Universal co-chairman Donna Langley, actresses Courteney Cox and Zoe Saldana and director of photography Cynthia Pusheck at the 2010 Crystal + Lucy Awards.The annual benefit dinner, which supports Women in Film, Los Angeles, will be held June 1 at the Hyatt Regency Century Plaza in Century City."At the dawn of a new decade, it is heartening to acknowledge careers marked by independent vision, daring creative choices and unique talent," Wif La president Jane Fleming said in announcing the honorees.Iris Grossman, the group's president emeritus, will chair the awards.Langley is to receive the Crystal Award in recognition of her efforts in expanding the role of women in the entertainment industry. She was named co-chair of Universal in October and with Uni chairman Adam Fogelson oversees the studio's business and production strategies.Langley joined Universal as senior vp production in 2001 and four years later was upped to president of production.
- 4/5/2010
- backstage.com
Screened at Method Fest, Burbank
"Three Days of Rain" is an auspicious feature debut for writer-director Michael Meredith and a fitting opener for the fifth Method Fest, which spotlights independent films with an accent on acting. Inspired by the short stories of Anton Chekhov, Meredith has woven together a half-dozen portraits of contemporary lives-on-the-edge in this quietly searing drama. Presented under the aegis of Wim Wenders, the film deserves further festival exposure and could see art house action in the hands of the right distributor.
Opening with jazz strains, a disc jockey's mellow voice-over relaying storm predictions and striking shots of an unfamiliar skyline, "Three Days" introduces its six central figures, residents of Cleveland, through elliptical scenes. The seventh main character is the rain-drenched cityscape itself, shot in a moody blue palette by director of photography Cynthia Pusheck, whose elegant, compelling visuals are a crucial unifying element. Deftly avoiding a frequent pitfall of multiple-character studies, Meredith does not impose a uniform performance style on his cast, instead allowing each to find the pulse of the role. And in Meredith's strong script, every role is a gem of understated complexity.
Football great Don Meredith (the filmmaker's father) is a strong presence here, setting the tone as a cabbie who moves through his days with a restless melancholy. Reeling from a recent loss, he seeks comfort from strangers, but his blank, stunned sadness is met at every turn with self-centered dramas -- most strikingly in Blythe Danner's darkly comic cameo as one of his fares.
In the most direct expression of these stories' Old World roots, a tile maker (Michael Santoro) whose work is ruined by the rain beseeches God with a why-me lament and relentlessly pursues a widow (Penny Allen) who owes him money. Peter Falk plays another character seeking cash, but Waldo's search is chronic. A retiree on an endless pub-crawl, he repeatedly phones his son to finagle loans he'll never repay. Falk captures the duplicity, contrition and maudlin charm of the alcoholic with an incisiveness so real it's hard to watch at times.
While there are no easy answers for these characters, some provide more clear-cut rooting interests than others. Erick Avari brings a simmering intensity to the role of Alex, a well-heeled professional whose encounter with a man living on the street throws his entire life into question and fuels his growing resolve to choose kindness over convention.
But not everyone has that option. Two of the most affecting story lines involve characters who must endure cruelty that is anything but casual. As a developmentally disabled janitor being set up by his boss (Chuck Cooper), Joey Bilow creates a childlike character without sentimentalizing him. Tess (Merle Kennedy), a young heroin addict tethered to brutal circumstances, is a composite of delicacy and steely despair.
Commenting on one another but never intersecting, the vignettes are juxtaposed with increasing urgency, thanks in large part to the heartbeat-precise editing of Peter Przygodda and Sabine Hoffman. The running commentary of Bob Belden's jazz score and Lyle Lovett's DJ patter underscores the sense of connectedness, which culminates in a visual symphony of Edward Hopper images: near-empty diners and lonely rooms, new lovers about to face the morning. "Three Days" eloquently taps into the aching, resilience and battered hope at the heart of Chekhov's fiction.
THREE DAYS OF RAIN
Maximon Pictures
Credits:
Director-screenwriter: Michael Meredith
Producers: Bill Stockton, Robert Casserly
Executive producers: Henry Herzing, Roger St. Cyr
Director of photography: Cynthia Pusheck
Production designer: Scott Wittmer
Music: Bob Belden
Costume designer: Bobby Brewer-Wallin
Editors: Peter Przygodda, Sabine Hoffman
Cast:
Waldo: Peter Falk
John: Don Meredith
Thunder: Michael Santoro
Tess: Merle Kennedy
Alex: Erick Avari
Dennis: Joey Bilow
Jim: Chuck Cooper
Helen: Penny Allen
Woman in Cab: Blythe Danner:
Disc Jockey: Lyle Lovett
Lisa: Heather Kafka
Running time -- 96 minutes
No MPAA rating...
"Three Days of Rain" is an auspicious feature debut for writer-director Michael Meredith and a fitting opener for the fifth Method Fest, which spotlights independent films with an accent on acting. Inspired by the short stories of Anton Chekhov, Meredith has woven together a half-dozen portraits of contemporary lives-on-the-edge in this quietly searing drama. Presented under the aegis of Wim Wenders, the film deserves further festival exposure and could see art house action in the hands of the right distributor.
Opening with jazz strains, a disc jockey's mellow voice-over relaying storm predictions and striking shots of an unfamiliar skyline, "Three Days" introduces its six central figures, residents of Cleveland, through elliptical scenes. The seventh main character is the rain-drenched cityscape itself, shot in a moody blue palette by director of photography Cynthia Pusheck, whose elegant, compelling visuals are a crucial unifying element. Deftly avoiding a frequent pitfall of multiple-character studies, Meredith does not impose a uniform performance style on his cast, instead allowing each to find the pulse of the role. And in Meredith's strong script, every role is a gem of understated complexity.
Football great Don Meredith (the filmmaker's father) is a strong presence here, setting the tone as a cabbie who moves through his days with a restless melancholy. Reeling from a recent loss, he seeks comfort from strangers, but his blank, stunned sadness is met at every turn with self-centered dramas -- most strikingly in Blythe Danner's darkly comic cameo as one of his fares.
In the most direct expression of these stories' Old World roots, a tile maker (Michael Santoro) whose work is ruined by the rain beseeches God with a why-me lament and relentlessly pursues a widow (Penny Allen) who owes him money. Peter Falk plays another character seeking cash, but Waldo's search is chronic. A retiree on an endless pub-crawl, he repeatedly phones his son to finagle loans he'll never repay. Falk captures the duplicity, contrition and maudlin charm of the alcoholic with an incisiveness so real it's hard to watch at times.
While there are no easy answers for these characters, some provide more clear-cut rooting interests than others. Erick Avari brings a simmering intensity to the role of Alex, a well-heeled professional whose encounter with a man living on the street throws his entire life into question and fuels his growing resolve to choose kindness over convention.
But not everyone has that option. Two of the most affecting story lines involve characters who must endure cruelty that is anything but casual. As a developmentally disabled janitor being set up by his boss (Chuck Cooper), Joey Bilow creates a childlike character without sentimentalizing him. Tess (Merle Kennedy), a young heroin addict tethered to brutal circumstances, is a composite of delicacy and steely despair.
Commenting on one another but never intersecting, the vignettes are juxtaposed with increasing urgency, thanks in large part to the heartbeat-precise editing of Peter Przygodda and Sabine Hoffman. The running commentary of Bob Belden's jazz score and Lyle Lovett's DJ patter underscores the sense of connectedness, which culminates in a visual symphony of Edward Hopper images: near-empty diners and lonely rooms, new lovers about to face the morning. "Three Days" eloquently taps into the aching, resilience and battered hope at the heart of Chekhov's fiction.
THREE DAYS OF RAIN
Maximon Pictures
Credits:
Director-screenwriter: Michael Meredith
Producers: Bill Stockton, Robert Casserly
Executive producers: Henry Herzing, Roger St. Cyr
Director of photography: Cynthia Pusheck
Production designer: Scott Wittmer
Music: Bob Belden
Costume designer: Bobby Brewer-Wallin
Editors: Peter Przygodda, Sabine Hoffman
Cast:
Waldo: Peter Falk
John: Don Meredith
Thunder: Michael Santoro
Tess: Merle Kennedy
Alex: Erick Avari
Dennis: Joey Bilow
Jim: Chuck Cooper
Helen: Penny Allen
Woman in Cab: Blythe Danner:
Disc Jockey: Lyle Lovett
Lisa: Heather Kafka
Running time -- 96 minutes
No MPAA rating...
Screened at Method Fest, Burbank
"Three Days of Rain" is an auspicious feature debut for writer-director Michael Meredith and a fitting opener for the fifth Method Fest, which spotlights independent films with an accent on acting. Inspired by the short stories of Anton Chekhov, Meredith has woven together a half-dozen portraits of contemporary lives-on-the-edge in this quietly searing drama. Presented under the aegis of Wim Wenders, the film deserves further festival exposure and could see art house action in the hands of the right distributor.
Opening with jazz strains, a disc jockey's mellow voice-over relaying storm predictions and striking shots of an unfamiliar skyline, "Three Days" introduces its six central figures, residents of Cleveland, through elliptical scenes. The seventh main character is the rain-drenched cityscape itself, shot in a moody blue palette by director of photography Cynthia Pusheck, whose elegant, compelling visuals are a crucial unifying element. Deftly avoiding a frequent pitfall of multiple-character studies, Meredith does not impose a uniform performance style on his cast, instead allowing each to find the pulse of the role. And in Meredith's strong script, every role is a gem of understated complexity.
Football great Don Meredith (the filmmaker's father) is a strong presence here, setting the tone as a cabbie who moves through his days with a restless melancholy. Reeling from a recent loss, he seeks comfort from strangers, but his blank, stunned sadness is met at every turn with self-centered dramas -- most strikingly in Blythe Danner's darkly comic cameo as one of his fares.
In the most direct expression of these stories' Old World roots, a tile maker (Michael Santoro) whose work is ruined by the rain beseeches God with a why-me lament and relentlessly pursues a widow (Penny Allen) who owes him money. Peter Falk plays another character seeking cash, but Waldo's search is chronic. A retiree on an endless pub-crawl, he repeatedly phones his son to finagle loans he'll never repay. Falk captures the duplicity, contrition and maudlin charm of the alcoholic with an incisiveness so real it's hard to watch at times.
While there are no easy answers for these characters, some provide more clear-cut rooting interests than others. Erick Avari brings a simmering intensity to the role of Alex, a well-heeled professional whose encounter with a man living on the street throws his entire life into question and fuels his growing resolve to choose kindness over convention.
But not everyone has that option. Two of the most affecting story lines involve characters who must endure cruelty that is anything but casual. As a developmentally disabled janitor being set up by his boss (Chuck Cooper), Joey Bilow creates a childlike character without sentimentalizing him. Tess (Merle Kennedy), a young heroin addict tethered to brutal circumstances, is a composite of delicacy and steely despair.
Commenting on one another but never intersecting, the vignettes are juxtaposed with increasing urgency, thanks in large part to the heartbeat-precise editing of Peter Przygodda and Sabine Hoffman. The running commentary of Bob Belden's jazz score and Lyle Lovett's DJ patter underscores the sense of connectedness, which culminates in a visual symphony of Edward Hopper images: near-empty diners and lonely rooms, new lovers about to face the morning. "Three Days" eloquently taps into the aching, resilience and battered hope at the heart of Chekhov's fiction.
THREE DAYS OF RAIN
Maximon Pictures
Credits:
Director-screenwriter: Michael Meredith
Producers: Bill Stockton, Robert Casserly
Executive producers: Henry Herzing, Roger St. Cyr
Director of photography: Cynthia Pusheck
Production designer: Scott Wittmer
Music: Bob Belden
Costume designer: Bobby Brewer-Wallin
Editors: Peter Przygodda, Sabine Hoffman
Cast:
Waldo: Peter Falk
John: Don Meredith
Thunder: Michael Santoro
Tess: Merle Kennedy
Alex: Erick Avari
Dennis: Joey Bilow
Jim: Chuck Cooper
Helen: Penny Allen
Woman in Cab: Blythe Danner:
Disc Jockey: Lyle Lovett
Lisa: Heather Kafka
Running time -- 96 minutes
No MPAA rating...
"Three Days of Rain" is an auspicious feature debut for writer-director Michael Meredith and a fitting opener for the fifth Method Fest, which spotlights independent films with an accent on acting. Inspired by the short stories of Anton Chekhov, Meredith has woven together a half-dozen portraits of contemporary lives-on-the-edge in this quietly searing drama. Presented under the aegis of Wim Wenders, the film deserves further festival exposure and could see art house action in the hands of the right distributor.
Opening with jazz strains, a disc jockey's mellow voice-over relaying storm predictions and striking shots of an unfamiliar skyline, "Three Days" introduces its six central figures, residents of Cleveland, through elliptical scenes. The seventh main character is the rain-drenched cityscape itself, shot in a moody blue palette by director of photography Cynthia Pusheck, whose elegant, compelling visuals are a crucial unifying element. Deftly avoiding a frequent pitfall of multiple-character studies, Meredith does not impose a uniform performance style on his cast, instead allowing each to find the pulse of the role. And in Meredith's strong script, every role is a gem of understated complexity.
Football great Don Meredith (the filmmaker's father) is a strong presence here, setting the tone as a cabbie who moves through his days with a restless melancholy. Reeling from a recent loss, he seeks comfort from strangers, but his blank, stunned sadness is met at every turn with self-centered dramas -- most strikingly in Blythe Danner's darkly comic cameo as one of his fares.
In the most direct expression of these stories' Old World roots, a tile maker (Michael Santoro) whose work is ruined by the rain beseeches God with a why-me lament and relentlessly pursues a widow (Penny Allen) who owes him money. Peter Falk plays another character seeking cash, but Waldo's search is chronic. A retiree on an endless pub-crawl, he repeatedly phones his son to finagle loans he'll never repay. Falk captures the duplicity, contrition and maudlin charm of the alcoholic with an incisiveness so real it's hard to watch at times.
While there are no easy answers for these characters, some provide more clear-cut rooting interests than others. Erick Avari brings a simmering intensity to the role of Alex, a well-heeled professional whose encounter with a man living on the street throws his entire life into question and fuels his growing resolve to choose kindness over convention.
But not everyone has that option. Two of the most affecting story lines involve characters who must endure cruelty that is anything but casual. As a developmentally disabled janitor being set up by his boss (Chuck Cooper), Joey Bilow creates a childlike character without sentimentalizing him. Tess (Merle Kennedy), a young heroin addict tethered to brutal circumstances, is a composite of delicacy and steely despair.
Commenting on one another but never intersecting, the vignettes are juxtaposed with increasing urgency, thanks in large part to the heartbeat-precise editing of Peter Przygodda and Sabine Hoffman. The running commentary of Bob Belden's jazz score and Lyle Lovett's DJ patter underscores the sense of connectedness, which culminates in a visual symphony of Edward Hopper images: near-empty diners and lonely rooms, new lovers about to face the morning. "Three Days" eloquently taps into the aching, resilience and battered hope at the heart of Chekhov's fiction.
THREE DAYS OF RAIN
Maximon Pictures
Credits:
Director-screenwriter: Michael Meredith
Producers: Bill Stockton, Robert Casserly
Executive producers: Henry Herzing, Roger St. Cyr
Director of photography: Cynthia Pusheck
Production designer: Scott Wittmer
Music: Bob Belden
Costume designer: Bobby Brewer-Wallin
Editors: Peter Przygodda, Sabine Hoffman
Cast:
Waldo: Peter Falk
John: Don Meredith
Thunder: Michael Santoro
Tess: Merle Kennedy
Alex: Erick Avari
Dennis: Joey Bilow
Jim: Chuck Cooper
Helen: Penny Allen
Woman in Cab: Blythe Danner:
Disc Jockey: Lyle Lovett
Lisa: Heather Kafka
Running time -- 96 minutes
No MPAA rating...
- 4/28/2003
- The Hollywood Reporter - Movie News
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